Showing posts with label self-editing. Show all posts
Showing posts with label self-editing. Show all posts

Wednesday, May 12, 2021

Tricks & Tips for Catching All Those Little Typos in Your Own Work

 by Jodie Renner, editor & author  


 

Whether you’re writing a blog post, a magazine article, a short story, an assignment, a novel, or a nonfiction book, it’s important to go over your work several times to make sure it’s polished and flows well. No matter what your you’re writing, you’re your credibility will be eroded if readers find mispelled misspelled words, misused words, missing or duplicate words, or other typos. 

If you plan to enter your short story or novel into a contest or query an agent, your credibility will be eroded and your reputation tarnished if the judge/reader/agent finds awkward sentences, boring word choices, missing words, extra words, or grammatical or spelling errors.

And if you're publishing your own novel or nonfiction and want to avoid annoyed readers and negative reviews, it's essential to submit a clean, polished, properly formatted book. 

For advice on various aspects of writing, revising, and editing your fiction, you can check out my three writing guides and my many blog posts here and elsewhere. Writers find my to-the-point Fire up Your Fiction, with lots of bullet points and before-and-after examples, very helpful.

After you’ve resolved any big-picture content problems and any style issues, such as slow pacing, awkward sentence structure, or overly wordy phrasing, it’s time to go through the manuscript again for typos, spelling, and grammatical errors, including punctuation. 

My tips below will help you with the final editing and proofreading steps, smoothing out clunky sentences, cutting excess wordiness and repetition, and improving your word choices, as well as ferreting out those tiny little gremlins that escape your notice when you’re concentrating on content issues. At the bottom are links to more articles on specific topics related to revision and self-editing.

When we read our own work, we’re so familiar with what we want to say that we fill in words that aren’t actually on the page and skip over words that shouldn’t be there.

Of course, getting detail-oriented, eagle-eyed friends who are great at spelling to read your work carefully is a great option, if you know any. 

Here are some tips for fooling your brain into thinking your story is something new, something you need to read critically and revise ruthlessly before it reaches the demanding eyes of a literary agent, acquiring editor, contest judge, or picky reader and reviewer.

1. Set it aside for a while. First, if you can, put your article, blog post, or short story away for a day or two before revising and editing it, and your book manuscript away for a few weeks or more, if possible, so you can come back to it with fresh eyes and a bit of emotional distance. If you’re on a tight deadline, start at #2.

2. Start with Word’s Spell-check Editor and check those squiggly red and blue lines under words. Don’t rely entirely on spell-check, though, as it misses a lot (like the well-known laughable gaffe, “pubic” for “public”), and often flags words that will actually change something from correct to incorrect. For example, in a manuscript I edited, MS Word suggested that “I like your thinking” (as in “I like how you think”) should be “I like you’re thinking.” (Blatantly wrong for the context.) And it often suggests the wrong its/it’s, and misses all kinds of typos in manuscripts I edit, like “crowed” for “crowded,” “father” for “farther,” “county” for “country,” and “manger” for “manager.” So definitely don’t trust spell-check blindly.

4. Do a search (“Find”) for words you know how to spell but tend to spell wrong when you’re in a hurry, especially ones spell-check often won’t flag, like “you” for “your,” “the” for “their,” “your” for “you’re,” and “there” for “they’re” or “their.”

5. Maybe invest in grammar and spelling software, such as Grammarly, ProWritingAid, or AutoCrit. Here's a recent (2021) article on the Best Grammar Checkers and Editing Tools.

Then choose some of the following strategies, which are also excellent for picking up on clunky sentences, awkward phrasing, repetition, and wordiness.

Increase the size of the type to 140% -180%, by clicking on the + sign at the bottom right of the document.

Change the font to one that looks quite different to fool your eyes and brain into thinking this is new material you’ve never read (or thought of) before, so you need to pay close attention. Try Comic Sans or Franklin Gothic Book or Book Antiqua.

Format your novel to book size, like 6″ x 9″ with half-inch margins, a font like Georgia or Cambria, and single-spaced, maybe format it to two-column landscape so it looks like an open book, then, if you can afford the paper and ink, print it up and read it in a different location, somewhere you don’t write, preferably out of your home.

Send your book manuscript to your Kindle or other e-reader, then read it in a different location, preferably not at home. If you already have an e-reader, this is of course much cheaper and less wasteful than making a print copy of a whole book. Format it to book size first (6"x9", 0.5" margins, indents of 0.2" or 0.3"), then send it to your Kindle email account as an attachment.

~ Send your story to yourself and read it on your tablet or phone. Or use Word's OneDrive or another cloud option.

~ In a print version, place a ruler or piece of paper under the line you’re reading to keep from skipping ahead. Or keep your finger under each word as you read.

Read it out loud. Wherever you stumble, your readers will, too. This will also help with punctuation. If you pause briefly, put in a comma. If you pause for longer, put in a period. 

Get your computer to read passages aloud to you, while you follow along. This will help you hear errors you may not catch otherwise. To enable text-to-speech in Word: First, add “Speak” to the Quick Access Toolbar: Along the very top above “File,” the blue line that starts with W for Word (or “Autosave” or the “Save” icon), go to the far right to find the small down arrow. Click that. It will say “Customize Quick Access Toolbar.” Click “More Commands.” In the “Choose Commands” from the list, select “All Commands.” Scroll down to the “Speak” command, select it, and then click “Add.” Click “OK.” When you want to use the text-to-speech command, you’ll use the icon on the Quick Access Toolbar, which looks like a square speech bubble on a cartoon. To hear some text read aloud, turn on your speaker, highlight the paragraph or chapter you want to hear aloud, then click the Speak icon on the toolbar. To stop it, click the icon again.

Follow along the text while listening to the text being read aloud. Stop it whenever you need to add, delete, fix, or change a word or smooth out awkward phrasing.

~ For final proofreading for little typos, you could try this: Read the whole thing backwards or upside down (!). I’ve heard these suggestions, but haven’t actually done this myself, and probably won’t.

~ If you’re self-publishing, get a pre-publication sample book printed by Amazon or Ingram Spark and read it somewhere else, preferably away from your home, like in a coffee shop, a park, or the beach. This makes a huge difference  you're approaching the book as a reader, not the writer. I read all three of my writing guides in book form, pen in hand, while away on vacations, and I caught all kinds of repetitions, sentences that didn’t flow as well as they could, were too wordy, or generally needed polishing, etc., as well as the odd typo.

~ I also recommend my two quick, clickable e-resources to help you verify spelling and word choices: QUICK CLICKS: SPELLING LIST – Commonly Misspelled Words at Your Fingertips, and QUICK CLICKS: WORD USAGE – Precise Word Choices at Your Fingertips. Click on the titles to check them out. These handy resources will save you tons of time looking up words in the dictionary, and every word is verified as correct. (They're perfect for viewing on computers, laptops, tablets, or e-readers but don't work on small screens like phones.)

Also, check out these articles for more specific help:
 








Writers – do you have any questions or other strategies to add for catching all those little typos lurking in your manuscript? Let us know what works for you in the comments below. (Your comment will not appear instantly  it will need to be approved first.)

Jodie Renner is a freelance fiction editor and the award-winning author of three writing guides in her
series An Editor’s Guide to Writing Compelling Fiction: FIRE UP YOUR FICTION, CAPTIVATE YOUR READERS, and WRITING A KILLER THRILLER, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized and edited two anthologies. Website: https://www.jodierenner.com/, Facebook, Amazon Author Page

Friday, May 7, 2021

How Will Your Story Rate in a Contest? Evaluation Criteria

by Jodie Renner, editor & author

How do you think your unpublished novel or short story would rate in a writing contest? Do you think it's ready to send to a literary agent? And how will your readers react to it, once it's published? Will it get a thumbs-up or a thumbs-down? 

Here's a list of MANUSCRIPT EVALUATION CRITERIA to guide you, point by point, before submitting your story to a contest, editor, or agent (or publishing it yourself).

I was recently asked to read and review the first 50 pages of some unpublished novels that had been submitted to a well-respected contest. Below are the criteria I was sent, with a few points I've added myself. 

These questions will also help anyone wanting to publish their novel (or short stories) themselves, send it to an editor, or pitch it to an agent or publisher. 

Ask some friends, your critique group, or some other savvy beta readers (who read avidly in your genre) to read your first 10-30 pages and reply to these questions. Then collect their responses to see how your novel or short story would measure up to contest judges, agents, or readers. Then it's likely time to do some revising, editing, and polishing before submitting.

1. Intro/Beginning:       

- Does the opening hook you in?

- Is tension established early on?

- Is there too much backstory in a lump? Or maybe too little information provided?

- Does the beginning compel you to keep reading?


2. Characters:

- Can you identify with the main character? Do you care what happens to him/her?

- Is the protagonist interesting and complex, with some desires, secrets, and regrets?

- How well are the characters developed?

- Does each character feel unique? Or are they run-of-the-mill, flat, or stock characters?

- Are extraneous characters bogging down the story?


3. Grammar, Sentence Structure, Mechanics:

- Does the author have a strong command of spelling, grammar, punctuation, and mechanics, or will he/she require significant editing help?

- Does the author vary sentence structure to create rhythm, or does the writing feel monotonous?

- Does the writing meander or go on and on? Does it need tightening up to get to the point?


4. Setting:

- Does the author treat setting like an afterthought, or has it been given an attentive eye?

- Does the story have a real sense of place?

- Does the author get too hung up on describing setting when it is not integral to the progression of the story?

- Is the setting shown from the viewpoint of the character, and does it include sensory elements and character physical reactions to it?


5. Dialogue:     

- Does the dialogue seem natural, organic? Does it seem forced?

- Does it drive the story forward or simply fill space?

- Do the characters use many clichés?

- Are conversations interesting or are they too mundane?


6. Premise/Plot/Pacing/Conflict/Tension:

- Does the basic premise of the story make sense, and is it believable within the story’s context? 

- Does the story move along at a good pace? Do things drag on too long, or get passed by too quickly?

- Does there seem to be something really at stake throughout?

 - Does tension drive the story forward, or does it fizzle out and fall by the wayside?


7. Voice:

- Does character voice feel unique? Does it feel apropos to the character’s nature and background?

- Does the authorial voice tell too much instead of showing?

- Could the story work better with a different POV?

- Is the authorial voice unique, or does it feel like a regurgitation of similar works?

Once you and your volunteer readers have examined your story with these elements in mind and you've done any needed revisions, your novel or short story should be much closer to being ready to send to an editor, contest, agent, or publisher.

Good luck!

I could add more points/questions but don't want to overwhelm you. How about you? Can you suggest a point or two that should be added? Let me know in the comments below. (Comments will appear after being approved.)


Jodie Renner is a freelance fiction editor and the award-winning author of three writing guides in her series An Editor’s Guide to Writing Compelling Fiction: FIRE UP YOUR FICTION, CAPTIVATE YOUR READERS, and WRITING A KILLER THRILLER, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized and edited two anthologies. Website: www.JodieRenner.com, Facebook, Amazon Author Page.


Monday, February 17, 2020

Don't Give Your Readers a Reason to Reject Your Novel

by Jodie Renner, editor & author 

Have your trusted friends or beta readers told you your WIP novel is too long, confusing, or just doesn’t grab them? Here are some typical “big-picture” weaknesses to watch out for in your fiction and correct before sending it to an editor, publishing it, or pitching it to an agent.
These types of glaring gaffes in writing, pacing, plot, or structure will bog down your story and invite bad reviews, which could sink your reputation as a novelist. Fortunately, they can all be remedied at the revision and self-editing stages.

~ Overwriting. Not enough self-editing will give people a reason to reject your novel

Today’s bestselling novels are mostly between 70,000 and 90,000 words long. Unless you’re an absolutely brilliant writer, and experts in the business have told you so, if your manuscript is over 95,000 words long, it definitely needs tightening up.
Cut way back on explanations and descriptions, and trim down long, convoluted sentences to their essence. Make every word count.

~ Meandering writing – the main story question / problem is fuzzy or buried.

What’s the protagonist’s main goal and fear, and his/her main problem? 
Continue reading this post on Anne R. Allen's award-winning blog HERE.
https://annerallen.com/2020/02/dont-reject-your-novel/



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Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: FIRE UP YOUR FICTION,  CAPTIVATE YOUR READERS, and WRITING A KILLER THRILLER, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized two anthologies for charity: VOICES FROM THE VALLEYS – Stories and Poems about Life in BC’s Interior, and CHILDHOOD REGAINED – Stories of Hope for Asian Child Workers. You can find Jodie on her Amazon Author Page, at www.JodieRenner.com, and on Facebook. 

Thursday, September 26, 2019

REVISE FOR SUCCESS – Concrete Tips for Revising and Editing Your Fiction

by Jodie Renner, editor & author 

After you’ve finished the first draft of your popular fiction novel or short story – or even if you’re only a third or halfway into it but have some nagging doubts about the viability of various aspects of the story – take a short break. Put your manuscript aside for at least a week or two and concentrate on other things. Then come back to it with a bit of distance, as a reader.

Here's a step-by-step guide to looking for any possible weaknesses in your premise, plot, characterization, or writing style. This is a pretty detailed list, so just approach it one step at a time, over days and weeks, maybe even months. Click on the links after each point for more in-depth suggestions on that topic.

STEP 1: LOOK FOR ANY BIG-PICTURE ISSUES.

 

~ PREMISE

Is your main idea intriguing and solid? Will the foundation of your story stand up to scrutiny? Does your main character have a driving goal and face significant challenges that he/she must overcome?

~ CHARACTERIZATION:
 
Is your protagonist charismatic, multi-dimensional, conflicted, and at least somewhat sympathetic and likeable? Does he/she change as a result of what he/she goes through in the course of the story? (character arc)

Click to read: Create a Complex, Charismatic Main Character.

Does your protagonist have significant, meaningful goals and motivations? What is driving him or her?

Do your characters’ decisions and actions seem realistic and authentic?

Click on this link: Make Sure Your Characters Act in Character

Also, are your supporting characters different from each other and the protagonist, for interesting contrast and tension?

~ POINT OF VIEW: 

Are you staying firmly in the head of the viewpoint character for each scene, or are there places where you’re hovering above or inadvertently slipping into the thoughts of other characters (head-hopping)? Click on the links below.

POV 101: Get into Your Protagonist’s Head and Stay There 

POV 102 – How to Avoid Head-Hopping 

POV 103 – Engage Your Readers with Deep Point of View 

~ PLOT: 

Does your protagonist have a significant challenge or dilemma that’s difficult to solve? Are you piling on the problems as the story goes on? Make sure every plot point directly affects the character and his journey. See Writing a Killer Thriller for essential tips that apply to all popular fiction.

~ STRUCTURE: 

Should you start your story or any of your scenes later? Or earlier? Would it be more effective to change the order of some chapters or scenes? Shorten some or expand others? Or even delete a few?

~ SCENES: 

Does every scene have some tension and conflict? Does every scene end with a question or dilemma that drives the story forward? See

Every Scene Needs Tension and a Change.  

Make brief scene outlines, using this template:

   Scene: Chapter: Place:
   - Date/Month/Season: Year (approx.):
   - POV character for this scene:
   - Other main characters here:
   - POV character’s goal here:
   - Motivation for their goal (why do they want that?):
   - Main problem/conflict – Who/What is preventing POV character from reaching his/her goal:
  - Outcome – Usually a setback / new problem:

Revise any scenes that don’t have conflict and a change and don’t advance the story. 

~ CONFLICT, TENSION and INTRIGUE: 

Every novel, no matter the genre, needs conflict, tension, and intrigue  and a certain amount of suspense. For practical advice on how to keep readers turning the pages, see my writer's guide, Writing a Killer Thriller and this article:

 Add Tension, Suspense, and Intrigue.

~ POTENTIAL PLOT HOLES, inconsistencies, or discrepancies: 

Ask others to watch out for any accidental bloopers in your story that will erode reader confidence. These might be related to the passage of time, moving in space, names suddenly changing, and other details that don't make sense.

~ OPENING: 

Will your opening paragraphs and first pages hook the readers and entice them to keep reading? Don’t warm up your engines with backstory or start with lengthy description – get right into the story from the first line, in the head of your protagonist.

12 Dos and Don’ts for a Riveting Opening.

~ LENGTH:
 
Is your story too long or too short? If it’s more than 90,000 words (okay, unless it’s a fantasy or epic), check out:

How to Slash Your Word Cut by 20-40% - Without losing any of the good stuff!

This would be a good time to send your story off to some trusted beta readers, volunteers who read critically in your genre. They don’t need to be writers.

Here’s a list of 15 Questions for Your Beta Readers – And to Focus Your Own Revisions

STEP 2: WRITING STYLE, VOICE, TONE, AND PACING


~ SHOW, DON'T TELL

Be sure to show, rather than tell, all critical scenes in real time, with action and dialogue, and quickly summarize or skip over humdrum scenes. See my article, Show, Don't Tell.

~ SHOW CHARACTER REACTIONS. 

Bring characters to life on the page by showing their emotions, physical reactions, thought reactions, and sensory perceptions.

See: Bring Your Characters to Life by Showing Their Reactions and

Immerse Your Readers with Sensory Details.

~ RELAX YOUR WRITING. 

Is your writing style too correct and formal for fiction? If so, loosen up the language. Read it aloud to see where you can make it more casual by streamlining sentences and using contractions and everyday words.

See Tips for Loosening up Your Writing.

~ VOICE:
 
Does each of your main characters have a unique voice? Or do they all sound like each other and the author? Beware of writing in a too-correct, nonfiction style. Remember that men usually speak differently than women, and a blue-collar guy shouldn't sound like a businessman or teacher. Use free-form journaling in the character's secret diary, especially when they're upset, to capture their true inner and outer voice, with plenty of attitude.

See: Concrete Tips for Developing a Unique Voice in Your Fiction

Developing a Strong Third-Person Voice, and also my book, Captivate Your Readers

~ SPARK UP YOUR PROSE.
 
Use strong, specific nouns and verbs instead of tired, overused ones. For more ideas on this, check out my book, FIRE UP YOUR FICTION and the following article:

 Nail it with Just the Right Word.

~ PICK UP THE PACE. 

Does your story drag in places? Are your descriptions too lengthy and neutral-sounding?
See: Pick up the Pace for a Real Page-Turner

~ WRITE TIGHT. 

Read your story aloud to see where you can cut down on wordiness and repetitions. Take out any “little word pile-ups” and all unnecessary detail to improve flow and pacing. Make every word count. See many chapters of Fire up Your Fiction for more specifics on this, and my post,

Don’t Muddle Your Message.  

~ WRITE AUTHENTIC DIALOGUE.
 
Read the dialogue out loud to make sure it sounds natural, like that character would actually speak. See my blog post,

 Tips for Writing Effective Dialogue.

Avoid these Style Blunders in Fiction.

STEP 3: FINAL PROOFREADING

 

Now it's time to go through the revised copy and look for typos, spelling, punctuation, missing or repeated words, convoluted sentences, and anywhere the prose doesn’t flow easily and sparkle. 

Also, look for formatting problems. Is your prose broken down into short paragraphs, for more white space? Have you started a new paragraph for every new speaker? Is your dialogue properly punctuated? See my article

Dialogue Nuts and Bolts.

Some techniques that work for effective proofreading:

~ Change the font and print out your story on paper or download it to your e-reader or tablet; or get a sample book printed. Then read it in a different location from where you wrote it (preferably away from your home) and make notes. 

Use the text-to-voice function of Word to listen to your story or make the font a lot bigger and read it out loud yourself.      

For more tips on effective final proofreading, see my article,

Tricks and Tips for Catching All Those Little Typos in Your Own Work.

Also, see How to save a bundle on editing costs – without sacrificing quality and

  Basic Formatting of Your Manuscript (Formatting 101) 


Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling FictionWRITING A KILLER THRILLER, FIRE UP YOUR FICTION, and CAPTIVATE YOUR READERS, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized two anthologies for charity: VOICES FROM THE VALLEYS – Stories and Poems about Life in BC’s Interior, and CHILDHOOD REGAINED – Stories of Hope for Asian Child WorkersYou can find Jodie on her Amazon Author Page, at www.JodieRenner.com, and on Facebook. 

Sunday, September 22, 2019

CLEAR, CONCISE, POWERFUL NONFICTION WRITING

by Jodie Renner, editor & author   

(An oldie but goodie I wrote and published here 9 years ago.)

- All of these tips will also make fiction writing clearer and more concise.

"Are you excavating a subterranean channel?" asked the scholar. "No sir," replied the farmer. "I am only digging a ditch." - Anon

Today’s post is mainly aimed at nonfiction writers, for a change. Have you ever read a legal document that was incomprehensible to you? Sometimes even magazine articles seem to be far more stiff and convoluted than they need to be.

Readers today are deluged with documents to read and information to assimilate. They don't want to have to wade through a thick pile of verbiage, long, complicated sentences, and unnecessarily fancy words to get the info they're looking for. They want you to state your points clearly and succinctly (with maybe even a touch of humor), so they can get on to the next chapter, document or article.

Language is all about communication; and as such, written language should be easily understood by most of the population, or at least by everyone in your target readership. If you’re sending your average reader to the dictionary more than once or twice in your article, or if they have to stop and re-read a sentence because it’s way too long and complex, you’re not communicating in a clear, direct way, and you’re likely to turn off your readers. Or, worse, you’ll just come across as pedantic and pompous.

According to Wikipedia, “Plain language, sometimes called simple language or clear language, is lucid, succinct writing designed to ensure the reader understands as quickly and completely as possible. Plain language avoids complications created by verbose, convoluted writing common in technical, legal, and other fields.”

Dr. Robert Eagleson defines plain language as “...clear, straightforward expression, using only as many words as are necessary. It is language that avoids obscurity, inflated vocabulary and convoluted construction. It is not baby talk, nor is it a simplified version of...language.”

Here are some tips for communicating clearly and effectively in your writing:

1. Avoid unnecessarily long sentences and excess wordiness.

Excess or elaborate words make your writing weaker. When tempted to use a wordy phrase, choose a concise alternative instead. As Robert W. Harris says, “Concise sentences have a force that wordy sentences don’t have. Extraneous words merely take up space and dilute the impact of the idea being expressed.”

Harris gives the following examples in his book, When Good People Write Bad Sentences:
Wordy: “Consuming excessive calories at breakfast, lunch and dinner can lead to an increase in blood pressure.”

Concise: “Overeating at meals can increase blood pressure.”

Wordy: “Owing to the fact that my car is not the most reliable of machines, I often show up for appointments after their scheduled commencement times.”

Concise: “Because my car is unreliable, I’m often late for appointments.”

Government writing in particular, is often too wordy. Here are some examples from www.plainlanguage.gov of excess words in government writing and plain alternatives:

Original: "At the present time, the FAA in accordance with new regulations will on a monthly basis conduct random security checks in the event that there is a terrorist alert."

Revised: "The FAA under new regulations will conduct monthly random security checks if there is a terrorist alert."

Some examples of wordy phrases to avoid, and straightforward, clear alternatives:

Wordy phrases ---- Plain Alternatives     

as a consequence of -----because
in the vicinity of ---------near
on a regular basis ------- regularly
as a means of ----------- to
as prescribed by --------- in, under
at a later date ----------- later
at the present time ----- now, currently
despite the fact that ----- despite
for the purpose of ------- to, for
in accordance with ------ under
in the event that ---------- if
in the not-too-distant future - soon
has the appearance of --- looks like
on a monthly basis ------- monthly
owing to the fact that ---- because
pertaining to -------------- of, about
should it appear that ----- if
with regard to ------------ about
drew to a close ----------- ended
on an annual basis ------- annually

Notice that the extra words in the first column above don’t help the meaning or add anything of significance. The wordy phrases are no more serious, compelling, or informative than their concise alternatives. In fact, extra words drain the life out of your work. The fewer words used to express an idea, the more punch it has.

2. Use active voice instead of passive voice.

Passive: The tests were graded by the teacher. The ball was kicked by Paul. The motion was passed by Senate.

Active: The teacher graded the tests. Paul kicked the ball. Senate passed the motion.

Because the active voice emphasizes the doer of an action, it is usually briefer, clearer, and more emphatic than the passive voice. Whenever possible, use active voice in your writings.

3. Avoid redundancies and unnecessary qualifiers.

It’s a mistake to think that in order to make an idea clear, you need to state it in several different ways. Using different words that mean the same thing can actually make your document harder to understand. To avoid repetition, if you are thinking of describing something with two words that have the same meaning, use the word that sounds more powerful.

Original: Because you are an experienced senior, you should help aid the new incoming freshmen.

Revised: Because you are a senior, you should help the incoming freshmen.

Also, unnecessary qualifiers add no additional meaning to a sentence, so avoid redundant phrases such as:

absolutely necessary, advance warning, basic fundamentals, close scrutiny, final outcome, future plans, honest truth, joint collaboration, overused cliché, past history, regular routine, unexpected surprise, etc.

In all of these cases, it’s best to just use the second of the two words in each phrase, as none of these words needed qualifying.

4. Don’t use multiple negatives

Using more than one negative muddles the meaning of a document. Accentuate the positive when you can. Here’s an example from www.plainlanguage.gov:

Original: No changes will be made to the Department of Transportation’s regulations unless the administrator reviews them and concludes that they are not lacking any important information.

Revised: Changes will be made to the Department of Transportation’s regulations only if the administrator reviews them and concludes they are lacking important information.

5. Don’t use a pretentious word or phrase when an ordinary one will do.

“I always endeavor to utilize multisyllabic words. It is the manner in which sophisticated people write.” – from When Good People Write Bad Sentences
Pretentious language, rather than impressing or intimidating readers, just makes the writer look like a pompous show-off. High-sounding words can suggest that one’s ideas aren’t interesting on their own so they need to be “enhanced.”

Here are some overly fancy words and their down-to-earth alternatives:

altercation – fight; appellation – name; domicile – home; capacious – roomy; facilitate – aid; impecunious – poor; jocular – witty; masticate – chew; perambulate – stroll; modification – change; pusillanimous – timid; recapitulation – summary; sobriquet – nickname; vicissitude – hardship; vociferate – shout. (The list goes on, but you get the picture.)

6. Finally, wherever possible, write in a visually appealing style.

Use headings, subheadings, bulleted lists, numbered lists, sidebars, graphics, tables, and parallel phrasing to make it easier for your readers to find the information quickly.

Remember, the purpose of writing is to communicate your ideas as clearly and as easily as possible – not to impress your readers with your erudition!


Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling FictionWRITING A KILLER THRILLER, FIRE UP YOUR FICTION, and CAPTIVATE YOUR READERS, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized two anthologies for charity: VOICES FROM THE VALLEYS – Stories and Poems about Life in BC’s Interior, and CHILDHOOD REGAINED – Stories of Hope for Asian Child WorkersYou can find Jodie on her Amazon Author Page, at www.JodieRenner.com, and on Facebook. 

Tuesday, September 3, 2019

Cut the Clutter and Streamline Your Writing

- Part I  

Excerpted from Fire up Your Fiction - An Editor's Guide to Writing Compelling Stories

by Jodie Renner, editor & author 

In my editing of fiction manuscripts, it seems one of my most important jobs is to help my clients streamline their writing so the ideas flow more smoothly.

I’m talking about those extra words that aren’t needed to enhance the mood, plot or characterization, or bring the story to life; the clutter of words that are getting in the way of the imagery and story and slowing down the pace.

Think of a flower garden that is stifled by weeds to the point where you can’t see the flowers. Or a cluttered basement or workshop, where you can’t find the things you really need. The good stuff gets lost, or at least difficult to find among all the junk.

So once you’ve gotten through your first draft, it’s important to go back in and cut down on wordiness and redundancies in order to make your story more compelling, pick up the pace, and increase the tension and sense of urgency.

But of course, don’t throw the baby out with the bath water—no need to make your style so laconic that you’ve sucked the life and voice out of it. Keep all those juicy words and phrases that set the tone, portray your voice and attitude, add atmosphere, provide sensory details, deepen your characters, add to the suspense and intrigue, and so on. Just cut out the excess blah-blah and leave the gems behind.

Sol Stein calls this important part of the editorial process “liposuctioning the flab.” As he says, “Flab is the enemy of every writer. Superfluous words and phrases soften prose. […] Flab, if not removed, can have a deleterious effect on the impatient reader, who will pay less attention to each word and begin to skip….” After you go through and cut the flab, the remaining text will be much stronger and more compelling.

Here’s some clutter to look for and expel, so the readers have nothing between them and your story:

First, take out any words, sentences, or paragraphs that are unnecessary, impede the flow of ideas, and slow the pace down. Search and destroy all those little words and phrases that just clutter up your sentences, adding nothing.

Here are some examples from my editing. I’ve changed the details to provide anonymity.

Before: They slept each night in the cheap motels located less than a mile’s drive from the interstate.

After: They slept each night in cheap motels just off the interstate.


Before: “You must never touch anything in this room if I don’t tell you to or if I haven’t given permission.”

After: “You must never touch anything in this room without my permission.”

Even better: “Do not touch anything in this room without my permission.”

Or even: "Do not touch anything in this room."


Before: The captain often asked a question of his men without really wanting their opinion. It was his way of providing a sense of democracy to his leadership style, when in actuality there was none.

After: The captain often posed questions of his men without really wanting their opinion. It was his way of pretending his leadership style was democratic.


Before: Jason motioned to a particular number in the middle of the spreadsheet that Tom currently had on the computer screen.

After: Jason motioned to a number in the middle of the spreadsheet on the screen.

Or: Jason pointed to a number in the middle of the spreadsheet.

Or even better: Jason pointed to a number on the spreadsheet.


Take out empty, filler words like “It was,” “there was,” and “there were”:

Before: There was a long scar just above both eyebrows that gave him a sinister look.

After: A long scar above his eyebrows gave him a sinister look.

Even better: A long scar on his forehead gave him a sinister look.


Unnecessarily wordy: I headed down a rickety set of wooden steps to the basement. There was a dim light ahead in the hallway. To the right there were cardboard boxes stacked high. To the left, there was a closed door with a padlock. Suddenly, I heard muffled sounds. There was someone upstairs.

Much tighter: I headed down a rickety set of wooden steps to the dimly lit basement. To the right, cardboard boxes were stacked high. To the left, I saw a closed door with a padlock. Suddenly, I heard muffled sounds. Someone was upstairs.

I could play around with this some more, but you get the picture.

So, avoid cluttering up sentences and paragraphs with little words and phrases that aren’t needed and impede the natural flow of ideas:

Before: Admiral Paul McLean strode into the room. A four-star admiral who currently was commander of the US Special Operations Command located in Tampa, Florida, McLean directed all the Special Forces throughout the military from the Green Berets to the Navy SEALs.

After: Admiral Paul McLean strode into the room. A four-star admiral and commander of US Special Operations in Tampa, McLean directed all the Special Forces, from the Green Berets to the Navy SEALs.

In Part II, we’ll examine more ways of streamlining your language to make your message more compelling, such as cutting way back on adverbs, reducing the number of adjectives, avoiding repetitions, and trimming or deleting paragraphs that don’t drive your story forward.

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Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling FictionWRITING A KILLER THRILLER, FIRE UP YOUR FICTION, and CAPTIVATE YOUR READERS, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized two anthologies for charity: VOICES FROM THE VALLEYS – Stories and Poems about Life in BC’s Interior, and CHILDHOOD REGAINED – Stories of Hope for Asian Child WorkersYou can find Jodie on her Amazon Author Page, at www.JodieRenner.com, and on Facebook. 
Resource:
Sol Stein, Stein on Writing


Also, see Jodie's article, "Clear, Concise, Powerful Nonfiction Writing." - See more at: http://crimefictioncollective.blogspot.ca/2012/04/cut-clutter-and-streamline-your-writing.html#sthash.zYdkz4YA.dpuf
Resource:
Sol Stein, Stein on Writing


Also, see Jodie's article, "Clear, Concise, Powerful Nonfiction Writing." - See more at: http://crimefictioncollective.blogspot.ca/2012/04/cut-clutter-and-streamline-your-writing.html#sthash.zYdkz4YA.dpuf